Anna Karina, 1940-2019

[Brooksie]

Not a figure of the nitrate era, but certainly one of the iconic figures of 20th-century film - and one who took a good deal of inspiration from another, Louise Brooks, especially in n Une Femme est une Femme (1961) and Vivre Sa Vie (1962). Like Louise, she might have been at her most memorable when she was dancing.

https://www.theguardian.com/film/2019/d ... the-screen

[Daniel Eagan]

May be my three favorite minutes of Godard: https://www.youtube.com

[Jim Roots]

I watched her Godard films quite recently and loved her ... so cute! And only last week, I ran the Madison dance scene for my wife and daughter who had never seen it before. It's amazing how people never get tired or bored watching these three people do the same steps over and over again for three full minutes. I agree with Daniel, it may be the best scene Godard ever filmed.

Jim

[Keatonesque]

This news truly hit me hard –– even more so than the passing of Doris Day (who was considerably older). This was another instance of feeling like losing a close friend who never failed to uplift your spirits, make you laugh, or rekindle your love of life with impulsive joy. She was also one of the most truly humble icons –– always traveling for screenings, agreeing to so many Q&As with fans, no matter how half-filled the places would be, always willing to chat with fans, take photos with the biggest grins, a marvelous hugger, downplaying her role in cinematic history, never distancing herself, always approachable. She gave herself to the fans, aware of our love for her and how much her screen presence and characters have meant to us. This was one of her finest qualities evident to anyone that saw her in person. This is what will be missed most for me. She was without ego despite her legendary status. Her diversity of roles was impressive, and beyond Godard, excellent performances in films of Deville (Ce soir ou jamais, 1961), Rivette (La Religieuse, 1966), Visconti (The Stranger, 1967), Tony Richardson (Laughter in the Dark, 1969), Fassbinder (Chinese Roulette, 1977), and her own Vivre ensemble (1972). She's also irresistibly charming in the 1967 musical-comedy, Anna. It was her free spirit that captivated and transcended the men that directed her and allowed her to shine and leave lasting impressions. Sometimes, it's the most subtle facial expressions that work their magic, and she had that special timing, tongue-in-cheek, or a serious side-eye, or the searching in her eyes for something tangible when words are not adequate. Just watch any of the above or any of her films with Godard and you will notice that pattern –– it never matters that it's through the lens of Godard that his camera falls in love or is in love with her. It's what she does in front of that lens, like free-jazz spontaneity, that makes her unforgettable and eternally vivacious. That was Anna Karina, my favorite foreign actress, or certainly the one I turn to most when I need to lean on films that help reinvigorate me with a love of life, or make sense of life or loss, or finding an excuse to engage in spontaneous shenanigans just because you only live life once. My gratitude to her is impossible to put into words. I'm only so sorry she had to endure cancer (which I hope did not cause her terrible pain for too long) and that I never will have a chance to personally meet her up close and express my thanks. I always heard she was a wonderful hugger with fans.

Merci, Anna.

[Brooksie]

A lovely tribute, Keatonesque. She might have been the person for whom the word 'luminous' was coined, and by all accounts she was indeed just that way offscreen too.

[Keatonesque]

A lovely tribute, Keatonesque. She might have been the person for whom the word 'luminous' was coined, and by all accounts she was indeed just that way offscreen too.

I believe so too. A beautiful video tribute below:
https://www.facebook.com/cinefreakz/vid ... 1773467233

[Brooksie]

It's only just occurred to me that there's a further Brooks connection - Anna played the character of Faustine in the 1974 adaptation of the novella The Invention of Morel. Faustine was inspired by author Adolfo Bioy Casares' obsession with none other than Louise Brooks.

She does not get much to do in the film, but as always, she does it very nicely.

[Keatonesque]

Updated to include Anna Karina and a few others. I wish they had used the iconic clip of Anna Karina crying while watching Falconetti in VIVRE SA VIE (it would have been more appropriate and fitting).